Musical instrument



Sept. 25, 1928.

F. W. FELLOWS MUSICAL INSTRUMENT Filed April 19, 1925 5 sheets-'sheet 1 sept. 25, 1928. 1,685,401

F. W. FELLOWS MUSICAL INSTRUMENT Filed April-19, 1925 l5 sheets-sheet 2 )Iiiulylilll Sept. 25, 1928.

F. W. FELLOWS MUSICAL INSTRUMENT 5 Sheets-Sheet Filed April 19, 1923 MUS CAL INSTRUMENT Sept. 25, 192B.

5 sheets-sheet 4 Filed April 19. 1923 F. w. FELLows MUSICAL INSTRUMENT Filed April 19, 1923 5 sheets-sheet 5 SEH :N E... ...N I

Sept. 25, 1928.

,WH m El Mw .m ...NI

of a key-lever;

Patented Sept. 25;, 192g.

FREDERICK FELLOWES, OF LGS ANGELES, CAIzIFQB'CNIAfl @1mm/mar' Y nppiiceugnnleu april 19, 1923; serially@ 533,109.'

' The principal kobject of my inyention 'is t0 provide an improved kieyboardv and asso.- ciated mechanism` by nieans of which one player can Control a sulioiently large number of tone-producing elements `of fixed pitch to ena-ble him to play chords and intervals in inet, Qr parteci?, intonation, .0r nlmy desired degree 0f approximation thereto .thus 'QOL reciting the imp elgffot chords and intervals of equal temperainent by substituting Vtljlereihr chords Aand interyals of ltheniaximinn degree of consonanoe, orof any desired degree of approximation thereto. y l accomplish the desired result by providing a key-board, preferably of symmetrical form, and arrangement, ivi-th 'a large `number .of 4toneprodusing elements, with GQ11- neotions whereby each lkey can be madeto ,controla plurality of difterent pitches, and ,with ya selective lcontrol mechanism by lmeans of which different groups of said 'st oiiefproduc-ing elements can be .selectiyely coimected to said key-board at lwill.

In. order to lexplain my invention vin detail, -I have illustrated one` embodiment thereot on the accompanying sheets of drawings,

which I Will noividescribe. Y

Figure lushovvs ,aside elevation o fa keyboard embodying my invention;

Figure 2 shows a -top plan View thereof,

with partsbroken away?" l liigure 3 shows an enlargedrear end View Figure t is a front perspeetive v ieywofa lpart of a keyboard; A

VFigure 5 is a schematic View `showing .groups of lkeys separated :troineach vother in order to show l.the electrical connections from the keys, to vthe tone-producing elements, and to the selective Control mechanism; Figure 6 shows one form of mechanism for ,actuating the seleetive control mechanismg `and Figures f7 to 1 5, inclusive, shows top plan Niews .of lthe .digital or iinger portions ,of the keys of a key-board, representing, respectively, nine different settings made ,possible by the controlmeehanism. Y

Referring now more in detail ,to-the draw ings, I willlirst describe theleys o-r levers making up the key-board proper.v Qllher'ekare two forms otkey-leyers used. l designates ,one form Aof key-lever, of vvfhieh Vthereare three shown' in Fig.A 1, making up one ver` tical tierof keys, setone above the other, and

each positioned rearwardly a 'distance sub- Y s tantially equal to the length of thedigitalf,A

or finger, portion of lthe key, as shown. 2 designatesthe other l form `ot key-lever, of which there are also three' showny in Fig. l, With their digital portions shown to besubstantially a third higher than then'digital portions of lthe keysl, and' these key-'levers 2 are alsoset rearwardly to 4overlap longitudinally about hahc of thefdigital lportions of two of the keys l, as maybe seenin'igs. 1,'2, and 4. Itwvill be 'noted' that the key-board is sym metrical in form and arrangement, and that eachyertical tier of'keys is'of uniform 'horizontalbreadth, that 'each bank of 'keys forms a straight line across the keyfiboard.

'horizontal roiv of keylevers is piv l otally mounted Va bearing bar, as 3, supported at itsopposite ends in theframe Work 'of the'instruinentin any'suitable manner, the bearing or pivotal `bars being so posi."

tioned relative to the length of the key-'lever l.

that the digital part of the key, or thatpart A which 1s engagedby the 4inge'rof the player 1s the lighter, the longer end being the heavier and normally returning thekey toits original position after the 'keyend `has jbeen depressed and then released. VA ,limit bar or stop, 4,v is shown yunder tlieforward ends of each horizontalv row of ',k'eys, and each key is provided initsvunder side With a pin'socket to receive al pin, asat 5, rwhich pm projects 5upwardly' from thelimit bar, and prevents ykey as it is c lepressed. v The rearend of each key-lever -is Ireduced in anyV lateral 1o r longitudinal movement vofthe thickness, as at'landQ, Fig. 2, to provide room yfor electric Contact members, hereinafter again 1referred to. The rear ends of ,the Vdii'ierent rows of key-levers ,are positioned vover @Ster-like structur, 6; 6, 6, and @29h .key lever ishe'ld and guided at its rear A'end by means of apin, set said step-like structure. As the forward, ,or digital, end of the key-lever is depressed, the rear end of the l.lever is' moved upwardly from the step-like y structure,` 6, as wvil l b e clear The entire keyboard is madeup of al t e`rna te yertical groups ofkeyes l and .2,2m will heele@ from Fles. 1,2 and 4'.

The/,Purpose Ggf the keys iS .t0 este en@ break the electrical circuitswhich control the speaking of the ieeds, pipes, or other toneproducing elements of the instrument. The' kEach key controls,'one at atime, vmore than one pitch, and is, therefore, provided with as many sets of making and breaking devices l `be controlled by more than one digital. The' settings aren'ot limited in number or as there are pitches under itscontrol. Adjacent to vthe rear end of each key-lever, lare .pairs'offcontactmembera as S, 8, the upper for, free ends of each Vpair being slightly bent and bearing againstthe reduced partof-the vnd lofthe, key, as seen in Fig. 3. Mounted on the' lower part ofthe reduced portionoffthe ke f is a metal contact plate as ..9 ad'aoted ,a i l a v a when the front end of the' key-.is depressed,

' to llee raised until it contacts with and con- A ferred to specifically by mentioning its order 50,vr i

ieets said ends, and thus completes acircuit 'through said Contact elements, 8, 8.' The Ynumber of pitches controllethene'at aftime,

by agiven key-lever,depends'upon'its relative Yposition upon the key-board, and4r the principles by which this vnumberis determined Vwillbe explained.hereafter. y A l' f vFor convenience of rei'erence, therows ofy keys in Fig. 2 are -numbered consecutively from .1,to .37 along theA front ends of the digital portions of thefkeys. The digital portions of the keys arealso numbered thereon with Roman numerals in the following manner. The sixkeys at the upper side of the sheet, or the left-hand side of. he key-board, inthe front row, are numbered from I lto inclusive. e The next sixkeys in thefront rowV are also, numbered from I to VI, yandthe next six keysare yso, numbered. The second row of keysyorgthe-V second bank, are also numbered in groups of siX,but number- Ifstarts'b'etween digitals rIV and V of thexfront.. row.A YThe third and fourth rows, orV banks of keys are also so numbered, number Istarting between Y Y numbers IV and Vkof the row immediately in frontofit. -In this way, the entire keyboard lslsymmetrically divided into groups ofsix digitalseacli, the significanceof which will appear later. YThus any digital can be renumber andits Roman numeral, thus, Digit'- y al .22e-I is that digital'bearing the v.Roman 'than' those more remotely related.-

numeralfLlying in the twenty second verticalrow, from the tcp of thesheet, or the left hand sideof the key-board.

Itis assumed thatV no keyboard.playable manuall is ossible .where there is a separate n n L y more remotely related are atl thesame time disconnected. It results, as a consequence,

controllednot alone by the different digitals, but also by different settings of the tones upon the keyboard. Thus each digital does dutysforwseveralpitches, lone at a time, and also, in itsvarous relations `to the several scaleszin which it occurs, a given pitch may kind,.but nine are shown as being most use- VSettings 1 to 9, inclusive, are shown in Figs. 7 to 1 5, inclusive. The ninediderent settings are represented on the nine ldifferent `representations of the-key-board.

- A pitch suitablefor middle C ischosen from which all othertones of the instrument are calculated.l Middle'C is, therefore, designated 4by the V'vibratiO-nratio and the pitch of every other tone is calculatedwith reference to the pitch yof this tone/and is rep-y in the same intervalof time that the; tone rep-l resentedv the' fraction executes the number of vibrations indicated by its numerator. Where the numerator is less than the denominator, the tone is lower in pitch than middle C. Vhere the numerator is greater than the denominator, the 'tone' is higher in pitch than Ymiddle C.

.that the several tones of the'instrument are n In everysetting, all digitals positioned reland.f37'-I, form an ascending seriesof 0`ctaves, in the order named, and all 'digitals'positionedV relative to eachother as are .1I,

anV ascendingseries of perfect fifths, in the Vorder named. The key-board is,"tlierefore,

symmetrically arranged. and thefinge'ring of all similar scales is similar.` This greatlysimplifies eXecutionl In agi'ven setting, not all digitals can be used forkey-notes. The'digitals which can be used for key-notes in the several settings are as follows:

In setting No. 1, Fig. 7, all digitale bearing y Roman numeral III.; Infsettings 2 and 3,

Figs. 8 and 9, all digitals bearing Roman nu- Y meral V, In settings'l and 5If`igs.'` 10 andll, all digitals bearing ItomannumeralI.` In settingsand 7,'Figs. 12 and 13, all -digitals bearing Roman numeral III. In setttings 8 and 9,`Figs. 14 and 15, Yall'digitals bear- Thus modulation upward or down- Y wardv by perfect fifths is provided for without change of setting. Y

Settings 1, 3, 5, 7 and 9 are of `one type, in that each gives the same series of intervals fbetweenftones'but at diferentpitches, while I settings 2,46 and 8, are ofzanother type, givcontrol mechanism, in the order l, 2, 3, ll, 5', 6,

7, 8 and 9, and one may stop at any setting and retrace one or more of the series lof settings at will. l Y, y

In the first, or odd-numered type of set# ting, every digital bearing a key-note, together with the live digitale immediately to its right, at the same level, forms with the said keynote the following intervals:

l-g, --g-, in the order named, as, for instance, digitals .2Q-I, Q4- IL .Q6-HI, .28-IV, .3D-V, and .S2-VI in setting No. 5 bear these identical intervals,.;and no further calculation is necessary to .establish the proposition as to them. In other,y groupscalculation shows the same intervals between the respective tones, as, for instance, in the same setting, on digitals .Q7-4I, .2Q-H, .3l-IH, .B3-IV, .S5-V., and .B7-VIA occur the pitches 1;-, g, s, lAgl, li, and g, respectively. By

Ymultiplying each of these fractionsby (the pitch oit'the keynote inverted) and reducing each resulting fraction to its lowest terms,

lwevobtain the fractions s, ,1-3, and

`respectively,'as above. kThe reason for multiplying eachffraction by the pitch of the keynote inverted is-that we thus transpose the keynote to the pitch of'middle C, or l, and at the same time we equally transpose each ol theo'ther tones of the group so as to maintain their .pitches relative to each other. i

' In settingNo. 3, every tone of setting No. 1 is transposed upward a major third and posi-V tioned upon theis'econdr digital to the right of,

l'and occurring at the "same levelas, that vupon which itis found in setting 1. Setting No. 5 'is a. similar transposition of the tones of setting No. 8; and settingNo-17 and No.9

are similar transpositions Yof 'thetones of settings 5 and 7, respectively. "That is, by changing from one rodd numbered setting to the next numerically higher setting of the same series, we transpose the tones of lthe cntire key-board upward a maior thirdand position them upon keys four semi-tones Ato the right.' Thus, the Vkeynotes pass lin Yorderjto the right, through the following series of digitals; III-,-VIHIV. l/Jhilethevkeynotes .are found upon digitals lll in `both settingNo. 1 and setting No. 7, the absolute pitch oi the respective tones positioned upon i the same `digitals varies by the interval 14g,

or the defect of 'three major thirds from an octave knownas a great'diesis. This is also true ofscttingsQ and 9, in both of which the keynotes are found upon digitals numbered V, h ut'the absolute pitch ofthe tones controlled Lby the same digital varies by the same interval.

.Bil- 1, to gdigital ,2Q-I, in setting No. 5, we

obtain a chromatic scale of the following in-' rtervals: i3 %r iig: ig: 'g3 il, Sir 'This' chromatic scale contains the tones of maximumV consonance to be used in making chords with' the major third formed by its first and fifth tones, (or and gf). The tones 11, fg, s, g4, T, and contained in said chromatic scale, form the vmajor d'iatonic scale. .Y Y

` In the second, or" even-numbered type of setting, l i l gether with thevfive digitals immediately to itsright, at the same level, form withthe said keynote the following intervals: g, se, s, ege, in the order named, as for instance,

digitals 122-1, @t-ll, .Q6-III, .2S-IV,

.3C-V and .32V in setting hlo.V .llbea-r these identical intervals, yand no further calc ulation is necessary to establish `the proposi every digital bearing a keynote, to-

tion as to them.- In other groups, calcula- -V asabove' l y As in the odd-numbered settings, setting No, e 'is -a 'transposition yofsetting No. 2 upward a major third setting No.5@ is -a simiilar Vtransposition lof setting No. 4, a-nd setti-ng No.

Vl occur the l 8 similar transposition olf-'setting Nolo.

The keynotes Yoli-settingA Nall are identical with Ithoseor' setting YNo.A 2;;1-thos'e of setti-ng No.2l3, with -those of setting Novi; thosel ,of setting No.5, Withfthoseof setting No, '6, and :those "of setting No.- 7 NoN-8.` i f seven keys Lof-any of the even numbered settings, positioned relatively y*to i anykeyno'te asare'digitals .Qdi-H, Qty-qll,

1170 l with those' of'setti-ng i e y if e e 1f fe; ii e e I i *a "is 'p III- l e 'e a a e f" a iv 3gee es e; e :e i ery es v --g e3 ,se@ -P s "if t; 7%

V1 erg-.g-

ege-f 2 "2,

Y numeral ofthe digital appears at the left of the horizontal row ofpitchesfcontrolledby the digital in the several settings whosenumbers/appear, respectively, at thetop ofthe table; y v W "sETTrNesg i Inasmuch as the arrangement of Vperfect yfifths and Voctaves uponthe key-board s'symf metrical, any digital may be viewed asbeing a certain number of perfect fifths or octaves (or a combination of both) from one of tlie digitalsmentioned in the last paragraph, and any similar group ofsix digitalsbearing the ARoman l'numbers I, II,A III, IV,Y, andVI, wherever'located upon the keybard, ma be lookedyupon vascontrolling pitches .which are a transposition of the pitches mentioned in the above table by that nume v,ber lof perfect fifths or voctaves (or combi.- nation of both) which separates itsdigital bearing the Roman numerall from digital .22'-I. "Ihat` is, we may determine the respective pitches controlled by any group of ydigitals similar to .Q2-I, .Q4-II, .26e-III,

.2S-IV, .S0-ev, and .32-VI,' andbearing the lsame Roman Vnumerals in the same order, by multiplying the Vratios of the Htable by the .constant multiplier which is the fraction derived byfmultiplying together the vibration ratios of the number` of perfect.

g fifths or octaves, or combinations of both, by which digitals No. Iare separated inthe two groups. Thus, digital .2T-I is removed from digital .QQFI an octave up plus a perfect fifth down'.v The interval between the two digitals is, therefor, or e, which is a perfect fourth up. By multiplying the fractions o f line I' of the table by 74g, all the pitches controlled by digital .Q7-I, as shown in the .drawings illustrating setting No. l to No. 9,

inclusive, willbe derived-j In each setting, therefore, the entire keyboard is divided into groups of six digitals each, similar to the groupconsistingof digi- @18.224,24411,lee-iii, .2s-iv, v, and .3Q-VI, and bearing the" same Roman numerals-in the same order. Eaclilof these groups controls the same intervals, .though at dilerentpitch for eachgroup. All digitals bearingV thesame Roman numeral are,

therefore, controlled as a group. This is acy of Yan electric selective control mechanism, the arrangement of'wliic'h, itiwilllbe rec0g. s

nized, is similar tothe varrangement of lthe table above given. This device reallyvdcomprises a member, as 15, having ajface or contact area divided into six divisions v1n one direction, as designated by the Roman vnumerals I to VIv inclusive, and-thesedivi-` sions are again divided in the other direction" intofsmaller divisions, ninebeing shown and representing nine different settings, as indicated. l Mounted to move across said facevor contact area is a connecting contact bar, l6, having six contact parts, as 16, oer-one for each Vof the six divisionsdesignat-ed bythe Roman numerals I to VI.y It will be noted that electric wires, represented by the, broken lines running into said diagram, are vconnected, one to each division. Itzwill valso be seen that some Yof the contact divisions comwith the contact face divisions, and thel fracv tions therein written, it will be seen that they are the same. For example, therst two vprise an area equal'to two, ory four or even Vfive :of the smallest or unit divisions or sections. By comparing the table herein given Cil fractions in settings 9 and'i 8 of the table are;

area. in the same line: is equal to tive of the all smaller or unit areas. other Words, the small areas or Contact divisions of the electrical selective control mechanism contain the` vibration ratios corresponding to the table. and from each area extends an electric circuitwire and these Wires are connected to the contact members 8, 8, at the rear endsv of the.

key-levers, as hereinbefore described, and'` represented in Fig. 3, and thence-.they extend to the tone-producing elements, desig-` means of pawls, 22 and y23, on-opposite sides of the ratchet Wheel 21, said pavvls bein g carried on movable members, 2e and 25, respectively, capable of being moved manually at will, as by means of knee pieces, 26 and 27. fr spring,r detent holding element, as 28,' is show vn lfor yieldingly holding the ratchet Wheel in different positions of adjustment, as will be clear from the showing made. I do not limit my invention to any particular kind of means for operating` the selective control mechanism, as manyV different mecha-- nisms can be adopted to perform this service.

lVhen the multiple contacter 16 is adjusted to any one of its nine different positions, it is in Contact With six of the contact faces or areas, one for each of the six Roman numerals appearing on the digital portions ofthe keys of the key-board, The'keys are divided into groups of six, and are numbered by the Roman numerals from I to VI, as before errplained. The nine diferent positions ofthe multiple contact bar or member 16, changes vthe pitches of the k ys numbered with the Roman numerals according,` to thecontact face or unit area. For example, in Fig. 5, the position of said contact bar 16, is at setting No. et. If it should be moved to position of setting 3 only the pitches of keys bearing the Roman numeralsI II, III and IV would be changed., If saidcontact bar were moved to the left to the position of setting 5 only the pitches of keys having the Roman numerals IV, V, and VI Wouldrbe changed, for only three contact areas are changed.

From each of the contact areas in line'hori- Zontally with the Roman numeral I, runs a line which branches to every key bearing the numeral I. This is also true of the contact areas opposite the other Roman numerals up to VI.V Referring to the horizontal rovi7 of Contact areasl or facesr opposite Roman numeral II, of member 15, ofFig. v5,`it Will bey i seen that the fourth and sixth contact faces have the same vibration ratio and therefore control the same pitches. The circuit Wires from these tvvo Contact faces are, therefore, joined, as at 30. A .single Wire cannot bel used for the reason that another contact area is between them. 'This is also true in the areas opposite Roman numerals IV andVI, Where the Wires are joined at 31 and 32. Where several different circuits control the same pitch, the Wires merge or join at any suitable position before reachingthe tone-producing element, as at 33, Fig. 5. Itis assumed, of course, that the speaking ofthe pipes, or reeds, or other tone-producing elements, is Icontrolled by any suitable electric, pneumatic, or other mech-1 anism, of which there are many on the market, and as this doesnot enter into the` heart of the Vinvention here presented, it is not necessary to go into further' details about it. The tone-producingl elements are sufficiently illustrated by the small circles, 17,. before referred to. E

Assuming novv that the contact bar or member 16 is in the position shown in 5 of the drawings, and that key .8B-V beidelpressed. This key has threeY makingand' pitches -g-, 1-851-2, and :zig- Wjould be sounded.

By tracing the downward course of the .three circuits from the rear of this key to the selective mechanism 15, it Will be found that they terminate in oontac-tfareasin which are the ratios ig, -1-3, and'-g, respectively, and the conta'ctor is in contact with area 85- only.' other tvvo circuits are broken at the selective mechanism and only tone producing element will sound.

, Assuming that at the same time key .S3-TV vvas depressed, vve had depressed keys .2S-V.

Thesetwo keys area perfect fourth apart upon the key-board, and two pitches obtained should be separated by'that intervaltvibration ratio e). Key .2S-EV controls pitches' ge, 49," and andtheir circuits run, respectively, to areas 27%, and -g inthe fifth horizontal row' of contact areas ofthe selective control'mechanism 15, but `the contact mem ber 16 is in contact'with area only, theotherv circuits being broken at the control mechanism 15, and onlyupitch %sounds. By multiplying the ratio 2% by We obtain -Sg (the pitch vobtained -above by depressing key .3S-V) proving that the two tones differ by the interval of a perfect fourth, as required by the theory.

. Referring to Fien (Setting 5), it Win be The noted that the following digitale bearthese respective `vibration ratios, to-Wit;

Digital numbeny Vibration Equivalentvio v ratio. bratlon rat1os.

3 .Sei-V1 eg e 3s-111' ea e Y32-V 17; -Hv

.30-IV Tt i .291 7; e

157.28*111 se t wir 27 v1 e@ .e6- 111 e y "20 .e5-,v .e4-11 e es Iv a? gg 25 .2e-I i .e0-V1 -g- 13i yg 30 .1s-v es; e 17-11 .3&7

1ra-1v i a 1.5-1- 3 .144111 "5g .1a-VI e 12-111 'e 4 .ll-V g g .10V-11 .12 -egv 9 1V a 45 87-1 g- -6-V I e 5o i Y Here we have an ascending series of semitones, of Varying width, according to the fol# lowing plan; The vibration ratios of the eight lowest tones are to each other as the numbers 1515,16, 17, 18, 19, 20, and 2l, respectively; of tle 8th to 15th tones, inclusive, as the same numbers; of ther 15th to 22d tones, inclusive, as the same numbers; and of the 22d to 20th tones, inclusive, as the same numbers. vAll tones seven semitones apart are separated by the interval of a perfect fifth. l/Ve have here, therefore, seven series of perfect fifths blended into one series of semitones, which may be extended upward and/or downward at will, so positioned relatively to each other that the intervals, l, 11%, i-Z; if, if, f and it, er@ continually repeated in the ascendingorder named at intervals of a perfect fifth. Inasmuch as all chromatic scales whose key-notes are a perfect fifth apart are founded on this series, applicant has, for the purposes of thisA application for patent, named this series of `semitones the chromatic series. In the remaining diagrams illustrating the odd numbered settings, this same chromatic series will be found transposed one or more major thirds, and in each of the odd numbered settings the remainder of the digitals will be found to bear only octaves of its tones. It will be noted lin cach instance that the chromatic series is positioned upon contiguous digitals in whatever octave it may occur; Applicant' believes that he is the first to conceive and describe this chromatic series and/or to provide it with a keyboard. Itis to be understood that this chromatic series, as well as the diatonic series and the double diatonic series hereinafter to be described may beez(- tended upward and downward through any number of semitones to any desired pitch upon the principles described.

Referring to Fig. 10 (setting 4), it will be noted thatthe following digitals bear these respective vibration ratios, to-wit:

Digital number- V EXIEX .36p-1 a a@ i .35-IV t g,

.3111 l el' te a .2Q-L E 2g .Q8-IV .2c-111 e 11% 24.*-11 Vj e n.

. 22*I t 1T?,-

.1Q-111 e .lZ-II i -Ari .i4-1v s a .12-III 1% 32% ZL-IV "I,

Here we have an ascending seriespof whole tones of varying width, with regularlyinter-y spersed semitones, according tothe following plan: The vibration ratios of the 1st to the 45th tones, inclusive, are to each other as the numbers l5, 16, I8, and 20, respectively;

of the 5th to the 8th tones, inclusive, as t-he same numbers; of the V9th to the 12th tones, inclusive, as the same numbers; of the 13th to the. 16th tones, inclusive, as t-he same number, etc. all numbers being counted from the bottom of the l table. Every fourth tone, counting from any tone in the table, forms wit-h lthe latterv tone al perfect fifth. We have, therefore, four series of perfect fifthsl blended into one series of tones, unlimited in extent upward and downward, in which the intervals' 15, and are continually repeated inthe ascending order named', at intervals of a perfect fifth. In`

asmuch as rall diatonic scales whose keynotes are a perfect fifth apart are founded on this series, applicant has, for the purposes of this application for patent, named this series the diatonic series. Applicant'believes that he is the first to describe this diatonic series and/or to provide it with ay keyboard.

In the same figure, in digitals V.Q -V, .1i-vr, .13-I,r .15'Ir,.16-v, .1s-vi, .20- 1, .Q2-II, .Q3-V, .Q5-VI, .E27-I, .29l-II, .B0-V, .3Q-VI, Sil-I, .3G- II and .S7-V, will be found this same series transposed upward a diatonic semi-tone (ratio --g except where the digital upon which a transposed tone would fall lies outside the limits of the keyboard as illustrated, as in theV case of the vtransposition of vibration ratio iig. It Will be noted that the digitals upon which are distributed the diatonic series just referred to, dovetail with those upon which are distributed the same series aI diatonic semito-ne lower, and two such series a diatonic semito-ne apart form semitones which are positioned upon contiguous digitale. Y Two of the diatonic seriesT a diatonic'semitone apart,appli-eant has, for therpurposes of this application for patent, named the double diatonic series. In the remaining diagrams illustrating the even numbered settings, this double diatonicseries will be found transposed one or more major thirds, and in each of the even numbered settings the remainder of the digitale will be found to bear only octaves of it-s tones. It will be noted that in each instance the tones of the double diatonic series are positioned upon contiguous digitale in whatever' octave or transposition they occur. Applicant believes that he is the iirstpto conceive and describe this double diatonic seriesy and/or to provide itwith a keyboard,

lVhile I have sho-wn one combination of instrumentalities vembodying my invention, I am' aware that many changes can be made therein without departing from the real spirit v board consisting of key-levers having digital surfaces of substantially the same shape and size, arranged in vertical tiers, sid-er by side,

the said digital surfacesiin each vertical tier being' one above the other and successively positioned rearwardly 'at regular intervals, whereby the digital surfaces of alternate keys from left to right are in horizontal alignment and lie in the same plane, the digital surfaces of eachy tier lying between two parallel planes, and operative connections fromsaid key-levers to said tone-producing elements?` said connections being such that "different groups of the same number of key-levers con'- trol corresponding groups of tone-producing elements, the pitches of the respective tones produced by each of said groups of tone-producing elements beingseparated by the same seriesy of intervals. 2. In a musical instrument, in combina- `t-ion, a series oftone vproducing elements,a

key-board consisting of'key-levers with their respective digital surfacesof substantially the same shape and size, arranged in vvertical tiers, side by side, the digital surfaces in each vertical tier being successively positioned rearwardly between parallel planes coincident with the opposite sides of 'said digitalvv surfaces, allv of the digital portions of alternate keys from left to right being in alignment horizontally and lying in' the same plane; operative connections from said keylevers to said tone producing elements, and a selective controlmechanism for connecting said key-levers by groups, said connections being adapted to connect each of said key- Y lever groups to a plurality of groups'of1 tone producing elements, one group'thefrcof at a time, the respective pitchesof the tones produced by'each of thegroups of tone producing elements simultaneously connected being separated by thesame series of intervals.

v 3. In combination, a key-board having keys ofthe same shape and size arranged in groups of the same number of keys each, al relatively larger number -of-tonc-producing elements, operative lconnections from`v said key-board to said tone-producing elements, said connections being such that each group Yof keys control a plurality of'groups of'toneproducing elements, one group. at a time, the pitches of the respective tone-producingielements inea-ch group simultaneously connected to lsaid keyboard being separated lfrom each other by the same series of intervals, and a'selective control mechanism for connecting at will,simultaneously,said groups ofkeys with desired groups of tone-producing elements.

4. In a musical instrument, a series of toneproducing elements, a key-board for controlling the same, electrical connections from-said key-board to said tone-producing elements, the several keys of said key-board having each a plurality of circuit-completing contact elements for completing a plurality of different circuits at that place, one of said contact elements being provided for each enh armonie pitch controlled by a key, said tone-producing elements being connected electrically for group control, and a selective control mechanism adapted to be manipulated to control selectively the group of tone-producing elements connected with said key-board.

i 5.A In a musical instrument, in combination, a series of tone-producing elements, a keyboard for controllingthe same, each key thereof controlling a plurality of enharmonic pitches, electrical connections fromsaid toneproducing elements to saidkey-board, Yeach key being adapted to control a plurality of circuits, the different circuits being connected to control different groups of tone-producing elements, and a selective control mechanism adapted to be manipulated to connectselectively a desired group of tone-producing elementswith said key-board.

6. In a musical instrument, in combination, a seriesof tone-producing elements,a symmetrical key-board, each key of which controls a plurality of enharmonic pitches, electrical connections from said tone-producing elements to said key-board, each of said keys being adapted to control a plurality of different electrical circuits, one circuit foreach pitch controlled by said key, and a selective control mechanism adapted to be manipulated to connect selectively and simultaneous ly different groups of tone-producing elements with said keyboard, the different toneproducing elements of each group being of different pitches, respectively, whereby Athe change of the selective control mechanism changes the pitches controlled by the keys of the key-board, substantially as described,

7. In a musical instrument, a key-board having keys arranged in groups, each group Containing the same number of keys, and the keys within each group being symmetrically arranged, .a plurality of tone-producing elements, operative connections from said Akeys to said tone-producing elements, said connec` tions being such that each group of keys controls a corresponding group of tone-producing elements, the pitches of the respective tone-producing elements of each .of said groups being separated by the same series of intervals. y i

8. `In a musical instrument, in combination, ajplurality of keys, said keys being varranged in horizontal rows and in banks from front to rear, the keys of each horizontal row being spaced apart the thickness of a key and the keys from front to rear being arranged one above the other at successive positions rearwardlyat equal intervals and in direct alignment with each other, and a correspondi ng number of tone-producing elements, with controlling connections from said keys to said tone-producing elements. l

v9. AIn an instrument of the character referred to, a key-board comprising a plurality.

of vertical tiers of keys arrangedside by side, each successive key, rearwardly, of a tier being directly overy the one in front of it and all of the keys of ar vertical tier lying between two parallel vertical planes coin-1 cident'with their opposite sides, and the different tiers of keys being alternately positioned `rearwardly and forwardly of. each other for substantially .the samey length of a part of key,'whereby saidkey-board is symmetrical 1n arrangement-1n its horizon,-Y tal rowsand in its successive banks, and eachv said. tone-producing elements being tuned toA produce tones forming a series of perfect fifths divided into semitones of varyingv width such that the pitch ratios of the said tones forming and dividing each of said perfect fifths are to each other as the num-V bers 14, 15, 16, 17, 18, 19, 20, and 21, respectively, -izn the order named, from lowest to highest. c

11. In a musical instrument, in combination, a pluralityof tone-producing elements, a key-board for controlling said elements, said tone-producing elements vbeing tuned. to produce tones forming a series of perfect iifths divided `into semitones ofv varying width such vthat the pitch ratios of thesaid tonesformingand dividing each of'lsaid perfect fifths are to each other as the numbers 14, 15, 16, 17, 18, 19, Q0, and 21, respectively, in the order named, fromclowest tol highest, together with-transpositions of the said tones at intervals ofA a major thirdvtogether with transpositi ons of all of said tones by voctaves. f Y

12. In a musical instrument, in combination, a plurality of tone-producing elements, a key-board for controlling said elements, said tone-producing elements being tunedto produce tones forming a serieslofperfect fifths divided into semitones whose respective relative pitch ratios are le?, -g, 1l-5, H, Hf, @-3, and Znhin the order named from lowest to highest.

13. In a musical instrument, in combination, a plurality f of tone-producing elev ment-s, a key-board for controlling said eleifl i together with transpositions of all of ments, said tone-produciiigy elements being tuned to produce tones fornfiingr a series'oi'" perfect fifths divided into seinitones Whose respective relative pitch ratios are M- of intervals; 'said `groups rarying' from e ch other by the substitution of enha'rinonic iiitervals)` said keyboard being divided into groups of keys of the saine number cach as there are tones in each of said groups of iiitervals, said operative connections being such Y that the keys in each ot' said groups of kei .separately control 'the respective iiien'ibei's of one of said groups of' toneproiilucing ele,-`

-ments, and a selective control mechanism for simultaneously switching at will said key `groups from tone producing elements corresponding to the transpositions of one of said groups ot intervals to tone producing elements corresponding to the ti'anspositions vof another of said groups of' intervals,

the tone-producing elements simultaneously connected to said 'keyboard always being those Whose tones form a transposition ol" the same group of intervals. f y' l5. In a musical instrument7 in vcombination with a plurality of tone-producing eleinents. akey-board the keys oi which are operatively connectcdivith said tone-producing'eleinents, respectively7 and a. select-ive coulrol niechanisni adapted to set selectively Vfor use dillerent groups oit torie-producin,e elements in connection with said ktJ the dii?- lei'ent groups of tone-producii elements producing` tones'iviiich are tianspositions at regular intervals of a plurality of of tones7 each of said series varying; from each other through the substitution of enharinonic .iiitervalswhereby said key-ecard vcan be sel 'vely connected lor group control with 19C dil'erent groups oft'said tone-producing eloments.

16. nf a musical instrument.' in' combina-- tion, a plurality of tone-producing elements, a key-boardtlie keys o Whichare adapted to be connected operatively ivith said tone-proVH ducincj elementsi and va vselectiwe control mechanismadapted. selectively, will. as manipulated to connect di foi @group 'tone-produeing;N elements with l 'l' "oups of tone-profl 'Y ufl 'a i cli are trai i each key o groups of tones va ying from each other L byonliariiiouic intervals substantially as der sc; hed.

I7. ln alniusical instrunientyin combina vtion. aseries of tone producing elements, a

key-board for controlling said' elements, said keyboard consisting of an unlimited' nuinber ot' key key presented to players finger (the digital'surface) being; of thevsaine shape and size as the corresponding surface of everyother per octave, the surface oit-'eachy key, veach of said surfaces being); 'coincident with .one of several parallel, y equidistant planes,each key being positioned rear-l Wardlyy proportionately to the height ofthe plane in'yvhioli itsdigital surface lies,v and. Vsaid keys beingw so disposed that the said digital surfaces of alternate 1Keys from left to right li'e'in theV same plan`e,and operative connections between said keys andv said to'nei` producing' elements.`

18. In a musical instruineiit,` in'eoiiibin'ation? a series ottone producingelements,'a 1 key-board for controlling said elements, said', keyboard consist-mg` of an unlimitedJ nuin'ber of keys per octave7 arranged. in' bz'i'nks', all' lneys havin g digital surfaces of the saine shapeA and sise, lying); symmetrically disposedin su`bstanti ally/*horizontal and equidistant planes,

being;l positioned rea'rvva1'-dly'v between parallel plaines' coincident Withthe f opposite sides of said digital surfacesl proportionately torv the heightof the"plane in f an *i which its digital surfacel lies, Vand said keys beingfso disposed that ,the digital surfaces of alternate keys from left to riglitli'e in,y the same plane, andoperativev connections between said keys and said tone producing elements. j V Y f 19. In armusical instrum'entlin coinbnatioin a series of tonev producing'elenients a lief-board for controlling* said elements.; said Cylwrd consist-ing` of an unlimited number vot' keys Vper octave', arrangedv in banks7a1l keys' beloivthe topv ban-k 'having digital' ys" rfaces of tlieisaine sha-pe and siZeLtlieidigital suria'ces of all keys lying` symmetricallyfdisposed in substantially"horizontal andfequidistant planes, 'each key being-positi `ined rearwardly between parallel planes coincident with the opposite` sides of saidfdigital surfaces,'proportionately tothe height of the p ane in vvhich its di'ital surface li`esfand said keys beine' so disposed that the'. digital surfaces of alternate'keys from'lett'toright lieinthe samefp'lane, and operative',connecfV tions between saidA keysV andy said'tone producin'ir elements.

20. In a musical 'instruinentyincoinbinaf tion7 a series of tone? producing elements v`respectively tuned to 'producetlie `tones of the doiible'diatonic series, keyboard forcentrolling" said Aelements."and' operative 'connections 'between fluciifgfelements;

said keyboard and" irl tiene 21. Ina musical instrument, in combination, a series of tone producing elements respectively timed to produce the tones of: the chromatic serics,"a keyboard for controlling said elements, and operative connections be'- tween said keyboard and saidv tone producing elements. 22. -In a musical instrument, in combination, a series oi tone producingelements re- Aspectively timed to produce the tones of anplu- Arality of transpositions of the double diatonic series by `octavos/,ia keyboard for controlling said elements, and operati ve connections betweensaidkeyboard and said tone producing elements. I V

Y f 23. In a musical instrument, inf combination ai series oit tone producingelements respectively tuned to produce the tones oit'a plurality of ti'anspositions of the chroi'i'iatic'series by octavos, a keyboard for controlling` said elements, and operative connections between said keyboard and said tone producing elcinents.

24.7In .a musical instrument',` in combination, a series of tone producing` Velen'ients respectivelytuned to produce thetones of a plurality of transpositions of the double diatonic series by octavos, a keyboard oit the character d escribed in claim 19 'for controlling said elements, and operative connections between said keyboard and tone producing elements. n

25.` In a musical. instrument, in combination, a series or' tone proiilucing elements respectively tuned to produce the tones of a .plurality of'transposi tions of the double diatoniciseries by octavos, a keyboard ot the character described in claim 1S for controlling said elements, and operative connections between said keyboard and said tone producing elements. 126; In a musical instrumenn'in combination,ya series `of tone producing elements respectively tuned to Vproduce the tones oilf a plurality or transpositions oi the chromatic series byfoctaves,a keyboard of the character described in claim 18 for controlling said elements, and operative connections between said'keyboard yand said tone producing elements.

27. In a musical instrument, in `couibiiian' tion, a`series of'tone producing elements 4respectively tuned to produce the tones oiY a pluralityof transpositions of the chroinati series by octaves, a keyboard of the character described in claim 19, for lcontrolling,Y said elcnients, and operative connections between said keyboard and said tone producingi eloyments. Y

ftion a seriesV of tone producing` elements respectively tuned to produce the tones ot al 28. In a musical instrument, in combinaf plurality of transposit-ions of the double diatonic series by octavos, a keybard tor controllinfr said elements and onerative connections n i 7 v ltl i `betwcensaid keyboard and said tone producing elements such that contiguouskeys ot' said keyboard control the'speakingy of vtone producing elements forming consecutive tones of one ot said transpositions o'l said double diatonic series.

29. Inra musical instrument, in` combination, a series of tone producing elen'ientsfi'espectively tuned to produce the tones ofv a pluralityV of transpositions of the chromatic `series by octavos, a keyboard for controlling Vsaid elements, and operative connections between said keyboard and said tone producing elements suchV that contiguous keys of said keyboard control the speaking` of tone producing elements forming consecutive tones oi? one of said transpositions of said chromatic.

series. Y Y

30. In amusical instrument, in combinat1on,*a series ,of tone producing' elen'ients respectively tuned to produce the tones of the double diat'onic sei-ies, a. keyboard lor-controlling,- said elements, and operative connections between said keyboard and said'tone producingelements such that contiguous Ykeys oi sai dkeyboard control the speakingl or' tone producing elements formingconsecutive tones of said double diatonic series. y

B1. lIn a musical instrument,v in combination, a series of tone producing elements respectively timed to produce the tones of the vchromatic series, a keyboard for ,controlling saidV elements, and'operative connections hetWccn said keyboard and said tone producing); elements such thaticontiguous'keys or said keyboard control the speaking oit tonepro- 'ducing elements 'forming' consecutive tones ot said chromatic series. e

32. In a n'iusical instrument, in combination, alseriesof tone producing)r eleineiitsrespectivelytuned to produce the tones of a'plurality of transpositions oi" the double diatonic series by octavos, a keyboard of the character described in claim 19 for controlling said elements, and Yoperative connections between said key-board and said .tone producing elements such'tliat contiguous keys of said keyelements forming consecutive tones of one of said transpositions of said double diatonic series. y

'34a In a musical instrument, in combina- Ico Vim

board control thespeaking of tone producing V tion, a series oty tone producing elements respectively' tunedlto produce the tones ofa pluiality of transpositions ofv the chromatic series by octaves7 a4 keyboard-y oftliecharacter described in claim 1S tor controllingsaid'elements, and operative connections betiveen said keyboard and said tone producing ele-y ments such that contiguous keys of'said keyboardcontrol the speaking of tone producingv elements 'forming consecutive tones of one of said transpositions of said chromaticseries.

tion, a series ot tone-producing elements respectively tuned to produce the tones of a plurality of transpositionsoit the chromatic series. by octaves, av keyboard of the character described inclaim 19 for controlling said tone producing elements such tliatvcontiguous keys of 'said keyboard control the speaking' of tone producing elements forming consecutive tones V'of one of said transpositions otsaid chromatic series. v

3G. AIn a musical,instrument, in con'ibina-` tion5 a series ofl tone producing',elementarespectively tuned to lproduce, the tones ot va plurality of'transpositionsot the double diatonic series by majorthirds and octaves of all tones of each `of said'transpositions7 a keyboard for controllingy said elements andV operative. connections between saidkeyboard and `those of said tone producing elements which form the tones ot one .otsaid ti'ansposit-ionsY a'ndits octaves,` with means of changing said operative connections'tol Vthe 'respective tone.v

producing elements which form the remainder of said transpositions andltheir respective octaves, one transposition atV ait-imc with its respective octaves. 1

3" I "l 't t9' l b` o4. n a musica.. ins rumen in. coin| ina tion, a series ottone producing; ele-ments re1- spectively tuned to produce the tones o flaplur rality of transpositions ottliey chromatic-se ries by maj or thirds, and octavesf ot all'tones ot each-o said transpositions, a keyboard-for controlling saidrelements7 and operative connections lbetween said keyboard.:andthose of said tone producing elements which form. the

tonesof one of said'transpositions and its octaves, with means of changing' said operative connections to thei respectivetonef producing elements which form theremainder,ot'gsaidl and' its octaves, With'meansotchangingfsaid 35. In a musical instrument, in combina- I operative connections tothe respective tone producing elements whichL forint-lie other of said series and itsvoctaves.

39. In a. musical instrument,.in combination, a'. series of tone producing` elements rlespect-ively. timed to produce the ltones of. a plurality of transpositions oi' the double dia-` tonic series Y and; of. a.. plurality of' transposi-v tions ofthe chromatic series and octaves oit" all tones of each of. saidrtranspositions, a keyiboard for controlling said elements, and operative connections between said keyboard and thoseotl said. elements vWhich form the i tones of one .of said transpositions and its octaves,`ivitl i means of changing said operative connections to the, respectivetone producing elements which form the' remainder of; said transpositions, and their respective.octa-ves, l

one transposition at a time, Withits respective octavos. 1 i Y n f i 40. In a musical'instrument, in combina-` ti on7 a series of tone 'producing elements and electric control means therefor'comprisingfin combination thereivitha keyboard, each key of which control a plurality of electricalcontacts, each oit said contacts beingfconnectedto a tone "iroducine"device arselective control mechanism having` a plurality off contact' members, each offwhich is provided'vvitha` plurality of contact elements, "each ot'saidl Contact elementsbeing connected with afpluralityl of 'said'A key-controlled contacts, only one of the contacts controlled by any key being connected to the same contact element,

contact members, said; contact;membersr as a group and said connecting member being a connecting,` member comme-nto allot said relatively movable to connect selectedcontact elements simultaneously, one: ongeach'offsaid contact members-7 aiid ,a source opfelectrical energy to Which-is connected said connecting member and said toneproducing devicesr el.' In ap. musical instrument, in' comb-inaftion, a series'ot tone producing; elementsland i electr-ic vcontrol means there-for comprising lin combination therewith' a *,keyboarcl, each:

key offivhich` controls 1an electrical contact 4and some keysofivhicli controla plurality of 'electrical contacts, each of saidgcontactsbe--' ing-connectedivith a toneproducing,r device,

selective control lmechanism having aMplurality of contactV members,-,each of Whichis provided with a lcontact element and some of which areprovided Witha pli-ir l'ty .ofconf tact 'element-s, each ot said contac v.element-s key-controlled l contacts.. only,v v'one of Lthe `contacts controlledby any vkey being; ,connected tothe same contact'ele-inenta: a connecting member vcommon tofall otsaid con- 'being connected 'With agplurality` ot saith. `V

tact members, :said.. contact members asa 4 group andsaid connecting member being relatively movableto connectv selectedconi -act Y elements simultanelf/)uslyjl one on each trical energy to which is connected said connecting member and said toneproducing de. vices.

42. In a musical instrument, in combina ti.on,.tone producing elements, a keyboard for controlling` said elements, operative connec-v tions between said keyboard and said elev,tions between said keyboard and said ele-v ments, and a selective control niecianism for changing the said operativeconnections from one series of tone producing elements to Vother series of tone Vpio liiciiig elements, said selective cont-rol mechanism having electrical contacts, each of which is connected to its own group of tone producing devices, each of said groups of tone producing devices consistingof those sounding tones separated from each other by unisons, perfect fifths, and Voctaves o f said unisons and perfect fifths.` f

44.' 'In' av musical instrument, in combination, tone producing elements, a keyboard for controlling vsaid elements, each key of said keyboard controlling a plurality of electrical contacts, a selective control mechanism consisting of a plurality ofl contact members, eachV of said contact members being provided ivith av plurality of contact elements, said keys being divided into groups, the keys in y each group having the same number ot electrical contacts under their individual control,

each contact member of said selective control mechanism lia-ving thesame number of conn tact elements as there-areelectrical contacts controlled by the individual keysone of said key groups, all of the electrical contacts `of a given key group being'respectivelyY connected to the corresponding contact elements of one'of said contact members of'siiid selective'control mechanism, and operative con-Y 1 ,tunedv to producetheftones of van unlimitedy .numberVV of chromatic sc'ales'whose keynotes 60 nec-tions between ducing element-s. Y y y .11.5. Inainusic'al instrument, in combina-v tion, tone producing elements respectively said'keys and said tone proa-re a perfeetviifth apart, each of said chromatic scales consisting of the intervals, q-g,

Vboard for controllingv said elements,

Y and operative connections vbetween said. keyboard and said tone producing elements such that having. contacts to the tone producingdevices sounding consecutive tones of said chromatic scales shall be controlled by lcontiguous keys `of said keyboardall of said tone producing elements being simultaneously in operative connection vith the respective keys of saidkeyboard.

46. In a musical instrument, in combina# tion, tone producing elements respectively timed to produce the tones of an unlimited number of chromatic scales Whose keynotes are a perfect fifth apart, each of said chromatic scales consistingl of the intervals, -l,%. fig; i-gr y ig: J:i: '17D Six and I; a keyboard for controlling' said elements and operative connections.betvveensaid keyboard and said tone producing elements vsuch that the tone producing devices sounding consecutive tones of Vsaid chromaticscales shall be controlled byzcontiguous keys of said keyboard. Y

In a musical instrument in combination, tone producing elements respectively tuned to produce the tones of an unlimited number of chromatic scales Whose keynotesV arc a perfect fifth apart, each of said chromatic'scales consisting of the intervals, l, 'ii id: U Sifi: 'l-1 'g3 156" 1%? and 'I7- a' keyboard for controlling said elements and operative connections vbetween said keyboard and said toner producing elements such that the tone producing devices sounding consecutive tones of saidchromatic scales shall be controlled by contiguous keysofv said keyboard all of 'said-tone producing elements being simulta- Vneousl'yjin opera-tive connection with the respective keys ofsaid keyboard. Y

41S. In Yalmusical instrument, in combination, toneproducing elements respectively tuned` to produce thetones of an unlimited number of chromatic scales Whose keynotes are a Aperfectiifth apart, each of said chromaticscales c nsisting of the intervals, l, l?, 'ii-i gri "E" ?"i 5 196': J'! and "i3 a* keyboardfor controlling said elements, and operative connections between said keyboard and said tone producing elements such lthat the tone producingV elements sounding consecutive vtones'of said chromatic scales shall be controlled by contiguous keys of*said'keyboard.v

' Y 49.111 a musical instrument in combination, tone producing relements respectively Vtiinedto produce the .tones of anunlimited number of chromatic scales Whose keynotes are a perfect fifth apart. each of said chromatic scales consisting ofthe intervals, Yl-,f l, t, tu it, i, t, i; Jai, and i, e keybfd for controlling said'elements and operative c onnections between saidl keyboard and said tone producing elements' such that the 'tone pro-v ducing? elements sounding consecutive tones ofsaid chromatic scales sha-ll be controlled by contiguous keys of said keyboard all of said tone ,producing elements being simultaneously in operative eonnectionvwith the respective keys of said keyboard. y y ,50,1% a ,musical instrumenQ-in :wich-ifa@ tion, tone producing elements respectively tuned to produce the tones of an unlimited number of chromaticl scalesvvvliose keynotes are a perfect fifth apart, each of said chromatic scales consisting of the intervals, l,

controlling said elements and operative con-V nections between said keyboard and said tone producing elements such that the tone producing elements sounding consecutive tones ot.' said chromatic scales shall be controlled by contiguous keys of said keyboard. Y 51. In a musical instrument, in combination, tone producing elements, respectively tuned to produce the tones of an unlimited number of similar chromatic scales Whose keynotes are a perfect fifth apart, a keyboard for controlling said elements and operative connections between said keyboard and said tone producing elements such that the tonel producing 'elements sounding consecutive tones of said chromatic scales shallfbe con tiolled by contiguous keys oi" said keyboard, all of said tone producing elements being simultaneously in operative connection with the respective keys of said keyboard, said Achromatic scales being tuned to any system except equal temperament.

52. In a musical instrument, in combina-V tion, tone producing elements respectively tuned to form Vthe tones of a plurality of transpositions of groups of tones, each group l consisting of an unlimited number of similar chromatic scales Whose keynotes are a perfect iiith apart, said scales being tunedin any system except equal temperament, a keyboard for controlling said elements, oper- `ative connections between said keyboard 'and said elements such that the keys 'of saidkeyboard shall be inI-siinultaneous connection with' the tone producing` elements forming the tones of one of said groups, anda selec-l tive control mechanism for changing said FREDERICK WV. FELLOWS. v

CERTiFiCAT 0F CRRECTION.

Patent No. 1,685,491. Granted September 25, 1928, to

FREDERICK W. FELLOWS.

lt is hereby eertified that error appears in the printed, specification of the above aittmiiere patent requiring correction as follows: Page 6, under heading equivalent vibraties ratios, lines 5 to 16, Ytite first eight iraetioes should have the deaomiaator "ten and two-thirds" instead oi having a denominator of "ten", with two=tiiirds" printed as a separate fraction. The numerator of each of these tions is correct; same `page, same heading, lines 1GO to 169, the denominator ei tire first two fractioas, should read "seven and one-ninth" instearl et "seven" with separate fractions, and the next four fractions, the denominator should read "ten and two-thirds" instead o "ten" with separate lraetions; and that the said Letters Patent should be read with ttiese corrections therein that the same may conform to the record o the ease in the Patent Offiee.

Signed anrl'sealed this Sth day of February, A. D. 1929.

ifi. J. Moore, (Seal) Acting Commissioner of Patents. 

